Jews Run Hollywood, Jewish Supremacist Media Confirms—Once Again

A new book which claims that the Nazi government influenced the production output of Hollywood in the 1930s has (inadvertently) confirmed that Jewish Supremacists run the movie industry in America.

The book, titled The Collaboration: Hollywood’s Pact With Hitler, by Jewish author Ben Urwand makes the far-fetched allegation that the Nazis somehow controlled what Hollywood produced in the 1930s by getting some studios to censor certain films before allowing them to be distributed.

Urwand claims, for example, that the film All Quiet on the Western Front was censored for the German market “because it dealt with the German defeat in World War I.”

Urwand claims in his book that in order to keep their share of the German cinema market, Hollywood also then censored other films before distributing them, leading to his claim that there was “collaboration” between the Nazis and “American” film producers.

The claim that there was “collaboration” between Hollywood and the Nazis—even of the tenuous kind claimed in Urwand’s book—has worked up the Jewish press into a frenzy.

The Times of Israel, for example, run by UK-born, Israeli journalist David Horovitz, announced a review of the book with the headline admitting that “Jews run Hollywood.”

The Times of Israel article, headlined “Did Nazis run the Jews who ‘run Hollywood’?” says that the “forthcoming book by Ben Urwand and Harvard University Press . . . . accuses the Jewish heads of Hollywood’s film studios of not just self-censoring, but taking creative marching orders from the Third Reich.”


The article author, Times of Israel film critic Jordan Hoffman, continued: “Having recently read Goldman’s The American Jewish Story Through Cinema, which goes into great detail about how the Jewish-run Hollywood studios were reluctant to allow any on-screen mention representation of Jews during the lead-up to World War II, I was somewhat surprised by the reaction” (of professor, film programmer and author Eric A. Goldman when asked about the book).

A related article in Tablet magazine, one of New York’s leading online Jewish journals, titled “Hollywood’s Creepy Love Affair With Adolf Hitler, in Explosive New Detail” with a subtitle “Uncovered: new evidence of Jewish movie moguls’ extensive collaboration with Nazis in the 1930s” says that that “[U]sing new archival discoveries, Urwand alleges that some of the Hollywood studio heads, nearly all of whom were Jewish, cast their lot with Hitler almost from the moment he took power…”

The allegation that the “Nazis controlled Hollywood” is, of course, stretching the truth and typical Jewish sensationalism.

It would not have been unreasonable for production houses to change content in films to fit in with different legal requirements and moral sensibilities around the world (such self-regulation is regularly carried out to this day by Hollywood, as for example is done with China at the present time—but that does not mean “collaboration” in the real sense of the word).

The real value of the Jewish “sensation” over the book is not therefore in the wild allegations about Germany, but rather in the matter-of-fact manner in which it confirms that Jewish Supremacists ran Hollywood as early as the 1930s.